Realtime Arts - Magazine - Issue 95 - Berlin: Island & Identity
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RealTime Arts - Magazine - issue 95 - berlin: island & identity http://www.realtimearts.net/article/issue95/9736 back realtime 95 contents Choose... search: berlin: island & identity keith gallasch, virginia baxter newweirdberlin, Kai Stiehler, 2009 © urban dialogues AFTER BEING IMMERSED IN RADIALSYSTEM V’S FASCINATING SYMPOSIUM ON THE RELATIONSHIP BETWEEN NEW PUBLIC ARTSPACES AND CITIES, NEW SPACES AND SYSTEMS FOR THE ARTS (P2-4), IT WAS THRILLING TO GET ONTO THE STREETS OF BERLIN TO EXPLORE SOME OF THE ISSUES RAISED FROM OTHER PERSPECTIVES. COURTESY OF A GOETHE-INSTITUT ITINERARY AND AN EXCELLENT GUIDE, OVER TWO DAYS WE MET PEOPLE ACTIVELY ENGAGED IN SHAPING AND CHALLENGING THE CITY’S NOTIONS OF ITSELF. APTLY, BE BERLIN, A GOVERNMENT CAMPAIGN TO ENCOURAGE BERLINERS TO PARTICIPATE IN DEVELOPING A SENSE OF THEIR CITY’S IDENTITY, WAS IN FULL SWING. Much has been written about the attractions of Berlin, not least its plethora of opera, theatre and dance companies, numerous festivals, including Transmediale and the Berlinale Film Festival, superb museums, countless commercial and independent galleries and clusters of shops with innovative wares (promoted in printed English/German guides in each of the fashionable districts). Large student and artist populations, enjoying cheap rents, have fuelled the evolution of squats into idiosyncratic art, shopping and eating districts with varying degrees of gentrification, development and heritage preservation. The squats either side of the Wall in the 80s, especially in the former East Berlin, became hubs for intensive creativity into the 90s and beyond, incubating a wave of successive cultural hot spots across the city. We looked out from RadialSystem V across the River Spree at the grafittied old warehouse and factory squats that our hosts said would soon be home to new development. This wave moves slowly, if with determination. Land ownership was, and remains, a hugely problematic issue in the reunification of Berlin—who actually owned what in the former East? An older problem, resolving ownership and compensation for land stolen from German Jews by the Nazi state, persists as well. Several people we spoke to said that ownership challenges had a positive aspect in inhibiting rapid commercial development and keeping rents down. Protests against development are also common—one was taking place as we looked across the river. The artists we met, not a few of them Australian, live in Berlin because of its cultural density which offers them connections, networks, study, mentoring, collaborations, inspiration and cheap rent, but not necessarily work or grants. Some arrive with grants from their home countries, many work elsewhere in Europe and use Berlin as home. Already we had a strong sense of Berlin as a creative totality—it’s a place where artists want to be, as do audiences from the city itself and beyond. However, we were 1 of 8 21.02.10 20:05 RealTime Arts - Magazine - issue 95 - berlin: island & identity http://www.realtimearts.net/article/issue95/9736 constantly reminded that Berlin is seriously broke, that a huge percentage of arts funding goes to a handful of major institutions and performing arts companies and little to a huge population of individual artists and groups. Much of the population cannot afford to enjoy the arts. Nevertheless the city appears to be in a state of continual renewal. We visited the Neues Museum the day after it opened, a superb work of renovation and preservation housing the creations of ancient and mediaeval cultures. The external walls are pockmarked with bullet holes: inside and out the city’s history remains visible. Two of our acquaintances are proud Berliners, but believe that the Nazi and Communist destruction of the city’s middle class and Jewish life in the last century meant that Berlin lost the opportunity to establish a consistent, coherent cultural drive, one that could acknowledge the artistic realities and potentials of the city. They look elsewhere—to the emerging cultural life of Istanbul for example—for inspiration. Xenia Rautenberger, 2009 all rights reserved by urban dialogues urban dialogues Others worry at the fragmentation of Berlin life. Instead of a coherent city, they see islands—ghettos of isolated citizens divided socially and spatially although living almost side by side. Urban dialogues (www.urbandialogues.de) devises projects that take participants deeper into their own neighborhood and then outside of it—to other parts of the city or some other city elsewhere in the world. Urban Dialogues began in 1998 with an emphasis on site-specific work involving young people, research based projects and conceptual art work. A team of 11 evolved —eight artists, two urban geographers, one pedagogue. Artistic director Stefan Horn and collaborators constantly reinvent their approach according to the character of the location and the participating group as well as the skills and passions of the artist who will run the project. Photography has become the principal tool for many of the projects, used in myriad ways. We meet Horn at the Clärchens Ballhaus in Berlin-Mitte, a century old timber dance hall where you can eat and drink, dance at night (as does our guide), enjoy chamber music or a jazz recital. The atmosphere is warmly communal.The amiable Horn briskly engages us with alarming accounts of the borders rising within cities and optimistic arts-led means for breaking them down. He describes himself as “a theatre designer who wanted to get out of black boxes and into urban dialogues outside. So I did a project with choreographers and designers on how to deal with community.” Urban dialogue projects, explains Horn, are about “difference and communication, youth art and networks. A project might take three years to complete. Urban Dialogues builds teams of freelancers. Young people join workshops, each run by a professional artist. Each project has academics evaluating it from beginning to end with reports at different stages. We’re always looking for different ways to work with young people. Again there’s no recipe.” Horn appoints a local artistic director and “keeps in touch by teleconferencing and lots of visits. In Berlin we have done lots of art and education projects, focused on school or youth groups, choosing artists with the right experience.” The main function of the projects is to reduce a sense of isolation, to encourage something as apparently simple, but often quite threatening in a big city, as visiting a neighbouring suburb. Young people going from from Brixton to Barcelona were “shocked by small things—the ritual of sitting down to drink coffee instead of taking it away.” The project report emphasises how quickly the young photographers sought out what was distinctive about Barcelona, instead of the familar “we’ve got one of 2 of 8 21.02.10 20:05 RealTime Arts - Magazine - issue 95 - berlin: island & identity http://www.realtimearts.net/article/issue95/9736 those.” The 15-month Signs of the City program focused its young participants (variously students, vocational trainees, hearing-impaired, homeless) in Berlin, East London, Sofia (in Bulgaria) and Barcelona on documenting and creatively intepreting cultural signs—state, commercial and personal—points of recognition and recollection. Often it was their first encounter with cameras, from pinhole to digital. In these projects the artist leaders are not cast as teachers, they provide the means, models and inspiration for participants “to become authors in their own right, directly involved in the production of knowledge.” Significantly this is achieved through collaboration and through visual language, circumventing literacy challenges and allowing communication between different language speakers. These young people “are cut off from the art world as a result of language and segregation.” Artists and assessors reported the invaluable addition of GPS-receivers to the project, allowing the participants to achieve a greater sense of active documentation and facticity beyond taking and selecting images—”conjoining place and time.” Exhibitions of the photographs were staged in each city, but online collections played a more significant role in allowing participants and others to see the greater range of the projects and to play with the images, assembling them into patterns and narratives to help shape perspectives on where they live (www.citipix.com). Excellent documentation of the project can be found in Stefan Horn, Rudolf Netzelmann, Peter Winkels eds, Signs of the City—Metropolis Speaking, Jovis, Berlin 2009. Horn elaborated on the range of projects Urban Dialogues had initated or been involved in, incuding Islands+Ghettoes, case studies of Dubai and Caracas. These are “extreme cases of ghettoisation”, he says, “but good exemplars of working in social crisis zones.” He mentions the gated communties of London and Barcelona: “Sometimes the borders within a city are actual but even if metaphorical they’re nonetheless real.” A very real example can be found, he says, in East London where he’s currently working and where the 2012 Olympics will be held. He’s concerned that appropriate urban regeneration will be hindered by the installation of an 11 mile, 10 foot high, blue security wall replete with CCTV that cordons off the Olympics site over many years. The assumption is that the Olympics will regenerate the East End, but Horn is concerned it will set up new borders given its long-term presence and the possibility of permanenly dividing communities. Horn thinks that “urban regeneration can work but there’s no recipe for it. It should develop at the same speed as the lives that inhabit it. People need a chance to cope, to develop a life in their city.” As for Berlin, despite its steady cultural development of parts of the city, Horn sees it as an island with ghettoes—”an island needing culture and tourism” to keep it alive. He writes in Signs of the City, “Berlin: a city that could, and had to, re-invent itself after the Fall of the Berlin Wall in 1989.